Mary Blair Exhibit at Tokyo’s Museum of Contemporary Art

Mary Blair Exhibit

“The Colors of Mary Blair” is a major new exhibit of Mary Blair’s artwork that has opened at the Museum of Contemporary Art in Tokyo, Japan. Over five hundred pieces of original artwork are on display, including her animation work, book illustrations, package designs, watercolors, and personal artwork. The show’s website is in Japanese, but there is an English section with basic address and admission details. These photos on Flickr (HERE and HERE) give a sense of the exhibit’s scale, and this image shows that the exhibition is accompanied by merchandise and a catalog. The show runs through October 4.

(via Disney History)

Spang Ho!

Welcome to Cartoon Brew – where rejected pilots from Cartoon Network come to play. Here’s another one:

Here is what the creator, Lincoln Peirce, had to say about it:

“Spang Ho is the latest of several pilots of mine Cartoon Network has rejected over the years. No, it wasn’t for Cartoonstitute; that program hadn’t officially been launched when CN bought Spang Ho. Frankly, I’m not sure exactly why they bought it, since nobody there seemed too sanguine about its prospects as a CN series. There was a lot of turmoil going on in the CN programming and development depts at the time (as there continues to be), and CN actually fired Spang Ho’s in-house producer when we were about halfway done without telling us. (When I say “us” I’m referring to myself, my director Rich Ferguson-Hull, and the crew of Global Mechanic, the house that did the animation.) But they allowed us to finish it, and then they focus-grouped it. The kids were only luke-warm about it, and that was the end of that. It was likely my last TV writing stint for awhile, since I’m working on some kids books for Harper Collins right now featuring my comic strip character, Big Nate.”

(Thanks, Joshua Bailey)

Happy Birthday, Bud Luckey!

As a change of pace, here’s some happy news about a veteran animation artist: today is Bud Luckey‘s 75th birthday. Luckey’s career stretches from Quartet and Format Films in the 1950s to design and story work on most of the Pixar features and the short Boundin’, which he directed. And, of course, he will always be fondly remembered for the many catchy Sesame Street segments he wrote, performed and animated, like “The Ladybugs’ Picnic,” “The Alligator King,” “The Old Woman Who Lived in a Nine,” and this one:

UPDATE: Animation artist Phil Rynda wrote a post about Bud Luckey’s influence on him and drew this birthday tribute with Luckey’s character, Donny Budd. Awesome!
Donny Budd

Vance Gerry Tribute Blog

Vance Gerry

Story artist Ed Gombert has started a blog dedicated to the work of Disney storyman Vance Gerry, who passed away in 2005. Gombert writes on the blog, “Fortunately, the geek in me started making copies of his work and instead of sitting in a folder in my personal archive I want to share these drawings with as many people as possible. If you look long enough at these drawings and paintings you will be able to see the kind, funny, humble and generous man that was Vance Gerry.”

The Gerry blog joins a growing number of blogs, sites and Facebook pages dedicated to individual artists from animation’s Golden Age, including:

Abe Levitow
Homer Jonas
Chuck Jones
Irv Spector
Ward Kimball
Claude Coats
Jack Bradbury

(Thanks, Mark Kennedy)

Little Rikke

One of the saddest things about the current deconstruction of Cartoon Network is the bits and pieces of pilots and projects being leaked that point to what could have been. Animator Stephane Coedel has posted these charming opening and closing title sequences for a CN rejected pilot created by Rikke Asbjorn.

Little Rikke was co-directed by Rikke Asbjorn and Chris Garbutt
- Character design: Rikke Asbjorn
- Storyboard: Chris Garbutt
- Backgrounds: Sylvain Marc
- Character animation: Rikke Asbjorne, Sylvain Marc, Ben Marsaud
- Compositing, animation, sound supervision: Stephane Coedel.
-Development team of concept: Rikke Asbjoern, Chris Garbutt, Alan Kerswell, Dave Needham, Charlie Bean, Sylvain Marc.

Ice Age Enters Record Books

A fact that took me by surprise: Ice Age: Dawn of the Dinosaurs is now the fifth-highest grossing animated feature of all-time at the worldwide box office. Here’s the list:

1. Shrek 2 – $919.8 million
2. Finding Nemo – $864.6 million
3. Shrek the Third – $799 million
4. The Lion King – $783.8 million
5. Ice Age: Dawn of the Dinosaurs – $673.5 million

The film has performed phenomenally overseas, pulling in excess of $500 million from foreign markets. This Variety article mentions that the film is on its way to becoming the top-grossing animated feature at the foreign box office, surpassing the current title holder, Pixar’s Finding Nemo ($524 million).

I’m going to go out on a limb and suggest that the reason for the film’s box office success isn’t because the entire world loves Ray Romano, but rather that the world loves Scrat, a refreshing cartoon creation whose appeal stems from his personality and mannerisms instead of his dialogue (a virtually unheard of innovation in contemporary animation).

The episode of Simon’s Cat I posted yesterday couldn’t be more different in style and tone than Ice Age, but at its core, I think the success of both of these cartoons revolves around an understanding that audiences still enjoy watching funny and appealing visually-driven cartoon characters.

Harry Potter and the Office of Unemployment

I haven’t seen a new piece of animation by stop-motion animator Corky Quackenbush in what seems like forever, so I was pleasantly surprised to run across his latest: Harry Potter and the Office of Unemployment.

I also found this “sex and violence” reel with clips from Quakenbush’s familiar classics along with newer works that I hadn’t seen. Family Guy could stand to take a lesson from Corky about what it means to be edgy and outrageous.

For more about Corky, visit his charmingly outdated website SpaceBassFilms.com.

Cartoon Dump Tonight!

If you’re stuck in Los Angeles, and you can’t get into tonight’s Academy program with John Lasseter and Hayao Miyazaki, take heart! Cartoon Dump goes on this evening at 8pm with our gala 2nd Anniversary Show!

That’s right! It’s our second birthday (our first performance was in July 2007) and tonight we celebrate with special guests David Feldman (from Conan, Comedy Central, and Bill Maher) and Dave “Gruber” Allen (Freak & Geeks, Naked Trucker, Two Headed Dog)!

Join me, Frank Conniff, Erica Doering, J. Elvis Weinstein, and Mighty Mr. Titan (putting the spotlight on his ass, above) tonight at the Steve Allen Theater, 4773 Hollywood Blvd. • Free Parking! • Advanced Tickets here • Phone: (323) 666-9797 • Map & Directions

Juiced and Jazzed

We linked to a preview of Justin Weber’s Juiced and Jazzed a few months ago, but now the whole film is viewable online at liquorflicker.com

The cartoon began as Weber’s senior film at the Minneapolis College of Art and Design. It was completed at MAKE in Minneapolis. Weber writes:

“I graduated in December 2008, having completed a black and white version of the cartoon, I was employed at MAKE, a design studio in Minneapolis that specializes in motion graphics and animation. There, with the help of fellow MCAD graduates Andrew Chesworth, Aaron Quist, and Joe Kim, we colored and finished the cartoon. It premiered at the Palm Springs International ShortFest in June and won 2nd Place in the Animation category.”

The cartoon features the recordings “The Uptown Lowdown” by Joe Venuti and “The Charelston” by Spike Jones. I always have a soft spot for “retro-30s” rubber hose tributes like this. Well done, Justin.

A New Episode of Simon’s Cat

“Fly Day” is the latest episode of Simon’s Cat by Simon Tofield, a UK-based director on the Tandem Films roster. It’s refreshing to see animation that hinges everything on the quality of acting, characterization, and observation. Tofield directs our attention towards the character’s personality to the point of not including any color, camera moves, or cuts in the entire episode. Simon’s Cat is also a fine example of an on-line animation success story. In a little over a year, the four previous episodes of the cartoon have reached nearly 30 million pageviews, which has led to a book deal for Tofield. More details on the book are available at SimonsCat.com.

(Thanks, David K.)

Nick-at-Nite animated promos

Remember when Nick-at-Nite was good? I’m feeling nostalgic for the retro-nostalgia of the old Nick-at-Nite.

Here’s a collection of N-A-N network ID’s and promo clips from the early 1990s. I believe all these jingles were written by Tom Pomposello. The animators include Marv Newland, Sally Cruikshank, Joey Album, Guido Manuli, JJ Sedelmaier, Jane Aaron, Frank Mouris, David Lubell, Colossal Pictures and I think I spotted a design by Dave Sheldon. If anyone else knows who did what, please comment below.

Boris Gorelick Circus Mural on eBay

Boris Gorelick mural

I don’t post links to eBay items frequently, but I can’t resist pointing out this huge, stunning Fifties silkscreen mural by Boris Gorelick (1912-1984), who painted backgrounds at UPA, Warner Bros. and Format Films. Gorelick’s animation work consists exclusively of paintings based on the layouts of other artists, so it is a pleasant surprise to discover that he was such a facile draftsman and that he drew characters so beautifully. The design is busy but never cluttered, and his use of color is bold and imaginative. With so many contemporary artists creating mediocre gallery paintings using a “cartoon modern” style, it’s easy to forget how exciting and interesting a stylized cartoon painting can be. Gorelick had it down.

I’ve written about Gorelick before on the Cartoon Modern blog. He had a fascinating history. Born in Russia, his parents emigrated to the US when he was an infant. He was politically active throughout the 1930s, and hung out with artists like Arshile Gorky, Max Weber and Ben Shahn. In 1935, while creating art for the W.P.A., he made a lithograph of a circus scene that is much darker than the Fifties version, and shows his vastly different approach to drawing in his pre-animation years.

Boris Gorelick lithograph

I checked with the eBay seller, and he said if the reserve isn’t met on the listing, the mural will be available for sale at Izzi Modern which is located in the Vintage Collective showroom in Long Beach, CA.

Miyazaki’s Quiet Protest of the Iraq War

Hayao Miyazaki

Hayao Miyazaki didn’t come to the United States in 2003 to accept his Oscar for Spirited Away because of his opposition to the Iraq War, he recently told the LA Times:

“The reason I wasn’t here for the Academy Award was because I didn’t want to visit a country that was bombing Iraq. At the time, my producer shut me up and did not allow me to say that, but I don’t see him around today. By the way, my producer also shared in that feeling.”

Critic Daniel Thomas MacInnes offers some context to Miyazaki’s actions on The Ghibli Blog:

It should be common knowledge to any serious Miyazaki scholar that he abhorred not only the Iraq War, but war itself. The idea of violence is depicted in his work as violent tragedy, slapstick mockery, or both…I don’t think very many Westerners know that the war in Howl’s Moving Castle was itself a reflection on the Iraq War. It was a comment on that war, viewed through the lens of Miyazaki’s long career.

Notes from the Comic Con

I’m just back from “Comic Con” aka the San Diego Comic Con (for the record, I refuse to call it Comic Con International) and, all said and done, I had a pretty good time. I’m one of those who has been distressed by the Hollywood domination of the convention, and the massive attendance of fans/pros and Hollywood types (125,000 plus) that have made this one-time delightful experience a literal nightmare for the uninitiated.

I’ve finally accepted the Con for what has now become, planned my own schedule of events, met up with my friends, made my way into all the parties and panels I wanted to attend, and just decided to enjoy myself.

I’m not going to recount or review specific panels in great detail; I haven’t even unpacked yet and probably have a bunch of comics, fanzines and freebies worth noting… that’ll wait for later. For now, here’s an overview of selected highlights over the last few days:

Wednesday: I was planning to leave at noon, in hopes of arriving in San Diego before 5pm, so I could attend the Preview Night. I got an email at 8:30am from my friends with the Astro Boy movie and they wondered if I could show up at the Con by 3:30pm to run-through the panel I was to moderate on Thursday morning. Knowing it would take at least four hours (especially if I stopped for lunch), that meant I had to leave at 11am – which I did. At 3:30, I was inside the convention hall reviewing the plans for the panel with the folks from Summit and Imagi.

Thursday: Began the day moderating a 10:30am panel on the new Astro Boy movie (looks great, by the way). Got to meet Freddy Highmore and Kristen Bell, and interviewed them on stage. Superhero Hype.com posted a transcript of the panel here.

Later that day I got to see the Cloudy With A Chance Of Meatballs panel. The clips they ran were excellent. It’s going to be a very funny movie – unlike almost any CG animated film we’ve seen yet. It’s much more a “cartoon comedy” than I expected and I’m quite jazzed to see the full length film.

Friday: At 8:30am I had breakfast with Craig Yoe, Harry McCracken and Tom Knott. At 12:30pm, I got into Hall H to see the big Disney presentation – and it was superb. John Lasseter was the M.C. and he did a great job presenting the clips and talking about each film. He would tell the crowd how great something would be, then showed a clip to prove it. He showed the first ten minutes of Toy Story 2 in 3D (it looked incredible). Lasseter then introduced the new 3D teaser trailer for Toy Story 3 which was very funny. He also showed a hilarious new short featuring Ken (Barbie’s boyfriend), voiced by Michael Keaton and probably directed by Teddy Newton (that was Teddy’s voice narrating it). This short will probably be a bonus extra on the Toy Story 3 DVD in a year and a half. The short, Groovin’ With Ken, was presented like an old 1970s 16mm promo film (Academy leader countdown, lines, splices, abrupt cuts, etc.) and was a parody of Ken’s supposedly swingin’ life style.

The footage from The Princess and The Frog reassured me that Disney is on the right path with this film. The animation is superb and the storyline is looking to be a lot more clever than I had thought. They showed two long sequences and both were terrifically entertaining. Nothing to worry about here.

The big surprise of the Disney presentation was the the clip (the first five minutes) of Prep and Landing a new CG Christmas special from Disney Animation Studios. I knew very little about this before… the five five minutes are wonderful and it could be a new Christmas classic. It’s about two Santa’s elves who prepare each home for Santa’s arrival. Check this out when it airs in December.

Lasseter showed a sequence (and trailer) for Beauty and the Beast in 3D. This was interesting because it’s not only in 3D, but the new technique they use adds 3D to the 3D, making the “flat characters” feel even more dimensional than the “viewmaster” feel of previous 3-D cartoons like Melody or Lumberjack Rabbit. Not sure if it’ll work based on the clips I saw, but it’s an interesting experiment.

Lasseter then brought out Hayao Miyazaki (to a standing ovation) and they did a little Q & A, showed a great scene from Ponyo and then took questions from the audience – comedian Patton Oswald took over at this point as a moderator. The questions from the audience – mostly directed to Miyazaki – were respectful and intelligent. This was a great panel, perfectly coordinated and produced. Photo above is from Toonzone.com – pictured left to right, Lee Unkrich, Kirk Wise, Ron Clements, John Musker, translator, Hayao Miyazaki, John Lasseter and Patton Oswalt.

Later that day, I attended Mark Evanier’s tribute panel to Stan Freberg, which was delightful – and hilarious. That night I attended a Disney Publishing party. Great party with great food, free books and t-shirts! At 9pm I screened my latest collection of Worst Cartoons Ever to a capacity crowd (2000 plus). If you are interested in obtaining a dvd of my 2009 compilation, please write to me at jbeck6540-at-aol.com.

Saturday: I began the day doing jury duty – as one of the celebrity judges for Titmouse Animation’s new reality series (in production), 7200 Frames. The judging took place on a yacht docked behind the Marriot Marina hotel, next door to the convention center. Loads of fun.

Later that day, Mark Evanier and Earl Kress did a panel with June Foray. It was a love fest between her and the audience. That night was the annual Writers Guild of America/Animation Caucus cocktail party. Again, great food and drink and wonderful conversation with old friends like Michael Uslan, Patric Varrone, Tom Kenny, Craig Miller, Marc Zicree, Jim Wheelock, Stan Berkowitz and others. This party was on a fourth floor Terrace ballroom at the Hyatt Hotel, and ended with a perfect view of a fireworks show over the Marina.

All of the above accounted for only fifty percent of the last five days. I ran into many old friends, Brew readers and business contacts in the exhibit hall (aka dealers rooms) – and I bought way too many things. My head is still spinning but, unlike last year, I’m ready to do it again – next year!

2-D Lovers of Another Kind

Love in 2D

It seems only appropriate to wrap up Comic-Con weekend with this New York Times article about Japanese men who have long-term relationships with drawn images of cartoon characters. The article profiles Nisan (above) who met his current girlfriend–a pillowcase with a video game character printed onto it–at a comic book convention:

He treats her the way any decent man would treat a girlfriend – he takes her out on the weekends to sing karaoke or take purikura, photo-booth pictures imprinted on a sheet of tiny stickers. In the few hours we spent together, I watched him position her gently in the restaurant booth and later in the back seat of his car, making sure to keep her upright and not to touch her private parts. He doesn’t take her to work, but he has a backup body pillow with the same Nemutan cover inside his desk drawer in case he has to work late at his tech-support job.